101 Uses For A Belt - No 25 Itch Scratcher

 

After a long sweaty day in the saddle,
it's such a relief to have a real good scratch

 

~

 

For other posts in the '101 belts' series,

 click on the 'Belts' label below

Art Bob 3 - Games and Puzzles

Art Bob - Unknown Title

We're missing the title of this image and without it the intent is far from clear. These men in a locker room seem to be playing dice, but why? Apart from the foreground figure everyone is already naked, not surprising in a locker room, but it seems to rule out gambling for clothes. Perhaps, some other forfeit is in play - or is there a prize for the winner? Perhaps the one staring us in the face?

 

There's a faint hint of a spanking for the kneeling guy and the intertwining of the leftmost pair is slightly suggestive too. The head and reaching arm lined up with the lower regions of the man in the foreground might also be significant, but it's all very obscure.  

 

Though muscular, the characters in this drawing are not Art Bob's best creations, you can't help thinking that the foreground figure might be a better bet, if only we could see more of him. Ah, well!

 

Art Bob - Low Score

 There's a similar mystery around this image - even with the title. Another locker room, this time one for golfers who are not normally a subject for homoerotic imagery. However, golfing terminology has much to offer. Here for example it appears a round of 'threesomes' has just finished. 

 

The hairy hunk in the foreground is studying his scorecard, and his face seems to be flushed. It's presumably him who has got the low score, which would make him the winner, but he doesn't look very happy about it. The slender pencil held between his drooping fingers, certainly doesn't suggest any other form of excitement either. 

 

By contrast, behind him, his companions already look as if they are shaping up to celebrate the 19th hole with some inappropriate activity. The one on the right looks very smug about it, his face a nicely drawn detail. He seems to be lending the blond a satisfying hand already. The phallic golf clubs give us corroboration of what's afoot. The blond's one is upright in his hand (not a driver, I might observe, if that's not overthinking it), whereas a bagful of irons (two at least!) lurks at his opposite number's rear.

 

There's a level of maturity in all three men in this picture, faces and physiques, that gives it a less playful, more intense atmosphere than Art-Bob's usual fare, but what exactly the storyline is, I cannot discover.

 

 

Art Bob - Four Alarm Fire

It's the title of this one that is bemusing, but on the surface, it's more clear what is happening. Firemen are being aroused from their slumbers to tackle a fire. This image predates the modern rise of firefighters to the level of erotic icons (gay and straight). 

 

The slightly guilty looking face in the top bunk may point to a hidden erotic agenda, his hand seems to be resting on the head of the chap below, while the bedpost seems to be betraying mischief that hasn't yet had time to dissipate.

 

The foreground figure, hastily buckling up his jeans may also reflect an interruption. Be that as it may, he is a delicious creation, lightly erotic and nicely observed. The treatment of his jeans is so casual, yet so right. The man putting on his socks is also interesting, with nice vest detail, but why is he wearing gloves? 

 

The character raising the alarm is a more conventional Art Bob type, more caricatured but oddly separated from the others. His underpants feature the artist's favoured chequer pattern and some weighty-looking contents which will not see action until the fire has been put out. 

 

Art Bob - Evening Clean-Up

Art Bob captures the simplest of homoerotic torments here. A man watches his buddy as he unselfconsciously cleans his lower regions with flies gaping open, after a hard day's work on the farm. On one level, it's an image that simply expresses admiration for working men, but the artist has added other telling detail.

 

There's the discomforted look of the watcher and the bulge in his jeans. He delicately wipes (hides?) his face as if embarrassed. The water dripping from the bowl suggests an elevated level of erotic intensity, but the drip that seems to be falling from his friend's groin and running down his thigh creates the impression that he likes being watched and admired. It's plainly just an illusion.

 

Art Bob - Down on the Farm

This piece hardly needs the title, which seems like another commonplace, seemingly apt phrase chosen by the artist yet not quite matching what we see. I suppose the double entendre was too good to ignore. In any other context, we might imagine 'going down' is about to be enacted, but the astonishing involvement of the cow and cat diverts our thoughts into a very different direction. It seems incredibly daring but not entirely attractive. The idyllic scene outside seems like another world. 

 

The drawing of the figures is of a high standard, I particularly like the realistic gap at the back of the milker's jeans. Neat. Much of this artist's work suggests involvement with the world of fashion. 

 

Art Bob - Hero Worship

There's a tremendous energy in this picture caught by what seems like hasty sketching. The interlocking curves of the cowboy and his steed beautifully reflect their engagement and struggle, their determination to ride and not be ridden. Tom of Finland also tried to capture this 'man v beast' scenario in a intense sketch, which as far as I know, was never completed.

 

Both artists seem to have recognised a relationship to sexual power in man's attempts to control mighty beasts, which encompasses Bull Fighting as well as Rodeo riding. The rider's backward arching body communicates sexual appeal directly to us, and also to the onlooking cowboy in Art Bob's image above, as the intense shading of his groin implies. Unfortunately the reproduction process has faded his jeans to invisibility, which diminishes his contribution to the image. 

Forward thrusting groins like this figure regularly in this artist's work. There are some others, heavily disguised examples, in Part 2 of this article. I've added a more obvious one below, aptly named 'Horse Play', but it would be remiss to leave the subject of farms without mentioning one of Art Bob's best and most innocent of images.

 

 

Art Bob - Hay Antics

Two young men playfully grapple in the hayloft. It's a nostalgic musing on the truly innocent joys of youth in an idyllic environment, far from the pressures and sordid reality of town living. A scene recounted in many a tale of 'coming of age'.

 

The stalks of hay delicately held between the blond's fingers suggest he has provoked this 'attack' by tickling his buddy.  It's clearly a game his friend is happy to play and you can sense the mutual affection that underpins it. The characterisation of the two lads is at the realistic end of Art Bob's scale with no hint of boyish silliness or unmanly panic. This is the real thing. 

 

There's a pitchfork in the background which might be seen as signalling lurking erotic intent, danger even, but it's hard to see this picture as anything else but a spontaneous expression of friendship which might lead to a stolen kiss and the liberation of a deeper love between the two buddies.

 

Art Bob - Horse Play

This picture has similarities to the art of Spartacus and is not unrelated to the Hayloft image. It's innocent youthful fun on the surface, a study of males at play. Like the rodeo image previously it has a tremendous sense of movement and physical endeavour. The figures have a balance which seems to connect to the artist's interest in ballet which I noted in Part 2 of this article. 

There's balance too in the mirroring poses of the two 'carriers'. It results in the overlapping of their lower bodies, which are one side-step away from direct erotic contact. If the carriers are removed from the image altogether, the two remaining characters are aligned for an even more intimate engagement.

That hidden, erotic subtext derives an extra twist from the characterisations of the two 'teams' which are totally different. The two on the right look playful and innocent, their opposite numbers look older, more serious and distinctly calculating. One of the 'innocents' looks out to us soulfully, as if he's suddenly realised this contest is not what he thought it would be. A discovery no less dramatic than the one that the Hayloft wrestlers might be on the verge of making. 

 

Art Bob - Hang On Man, We’re Cutting Out!

In this image, the artist takes that encounter between innocence and experience further. The fantasy of bikers leading astray 'healthy', young men was a popular theme for gay artists around this time, notably explored by Etienne's Surfer and Bikers images in 'Road Kings' and also by Tom of Finland. 

 The rapid sketching technique seen in 'Rodeo' feeds the comedy here as well as the sense of movement and urgency. The artist hints more explicitly at the logical destiny of the arching body and thrusting pelvis, although it seems an improbable result in terms of the stereotyping of these particular two characters and the physical situation they are in. By intention or accident, the sketching has also created the (more predictable) impression that the pillion rider has a rocket up his backside. 

Unfortunately, in this image, virtually all the background detail is lost, save for a gesticulating arm far behind them, which perhaps implies these two have been up to some mischief.

 

Art Bob -2 a.m. Daddy

Many of Art Bob's images seem to reference heterosexual life, often to illustrate the peculiar attractiveness of straight men to gays and the rivalry between gay men and women for the hand of their beau. '2 a.m. Daddy', however, is a completely unvarnished and somewhat puzzling example of married life. 

I suppose we must view this scene in the context of an era when probably the majority of gay men chose to marry women in order to avoid persecution and live a 'normal' life. That decision was probably influenced in may cases by the relentless, popular characterisation of gay men as effeminate and degenerate. That wasn't how they viewed themselves, of course, but they knew no better.

Art Bob may be representing one such man, wondering how different his life might have been, what else he might have been getting up to at 2 o'clock in the morning. The depiction of the two children is an impressive example of the artist's capabilities as an illustrator.

Art Bob - The Hour Of Decision 

A straight outlook is more directly implied in this image, by the photo on top of the dresser and by the obvious desire of the man getting dressed to please his date, who seems to be the person in the photo and watching him. 

He has a voluptuous physique and there's an erotic, masculine kinkiness in the bow tie coupled with his nudity (somewhat clichéd and devalued to gays, these days, by commercial, heterosexual exploitation). The artist may be hinting at conflicting inner feelings by presenting him with a choice between conventional black and jazzy stripes. Does he mean a choice between being dull and straight and being a more imaginative gay? This was the double life led by many men.

The contrast between his overall nudity and chunky shoes and socks adds even more pungency to his simmering erotic appeal. In addition, the open drawer with its trailing tie, in matching stripes, note, suggests an inner excitement suggestive of his true orientation. Very clever.

 

Art Bob - That's Not Music! That's My Brother

According to the Physique Pictorial caption this is a phone call to his girlfriend, but I suppose we might imagine that's just his cover story. Otherwise, this is strictly neutral territory with no hint of anything more between these two men than commonplace, sibling rivalry and a weak play on a phrase that predates the Hollies 1969 hit 'He ain't heavy He's my brother' by over 50 years. 

The guy on the phone is appealing enough, with a physique, one of Art Bob's best, delicately detailed with light hair. Except for what we can see of his groin, that is. Notice the flecks of shaving foam on his pecs and belly, titillating us with the thought that this straight guy has an awareness of his body image which wasn't at all normal in the 1950s. His younger brother's dress with tight jeans and bare, muscular top suggests similar, promising traits! 

The 1950s retro decor, complete with cheese plant and 'moderne' lightshade is a delight.

  

Art Bob - Detour

Three images by Art Bob, which I have presented in the past, also feature heterosexual themes. In 'Detour' it injects that frustrating but irresistible allure of 'essence of straight' into a situation rife with homoerotic desire. (Follow the links in this section for more commentary).

 

Art Bob - We're Waiting

 

'We're Waiting', is a more comical play on conflicting desires in a mixed erotic triangle. It features strip poker and a secret gay who is one of that predatory breed who believe they will always get their man. Surprisingly often they did, annoyingly, but their chances were enhanced by the prevalence of men living double lives or in mistaken marriages. Nobody here cares about the woman's feelings.

 

Art Bob - Pick-Up

'Pick Up' gently mocks the artifice of women that suffer under a similar illusion, largely based on their self-presentation skills and female artifice, as represented by the dropped handkerchief (or knickers). It's a world I suspect Art Bob was very familiar with in his day job. In this case we can see it's pure delusion.

I have resorted to a magazine cover for this example, it's over-cropped at the sides but is the only copy I have which, for once, shows the background detail as it was meant to be seen. Note the philosophical comment in the magazine title on the bottom row.

~ 

Read this series from Part 1 

I am mulling a Part 4 for this series, watch this space!

Art Bob 2

Read Part 1 of Art Bob

Art Bob - GoldBrickers

We'd call them 'slackers' or 'malingerers' these days. Three men trying to get a Doctor's note for a few days off work. Or perhaps it's just an excuse to be examined by the handsome, young Medic. The degree of disrobing he requires of them suggests he has an exacting and thorough technique (and equally dubious motivations?). 

 

The hunk in the foreground is wearing shorts that are both rolled down at the waist and rolled up at the leg to create a sort of loin cloth effect. He is faking a fever by putting his thermometer on a hot radiator, which itself is puffing out smoke signals of appreciation for the assembled, hot "hunkage". 

 

The current examinee, standing with his flies wide open and nothing underneath apparently, presents himself for the medic's stethoscope, nervously tensed. Anxious perhaps, that his pants will drop at the slightest provocation, revealing something he'd rather keep to himself. 

 

The guy stripping off at the back, for me, is the most interesting, strong jawed and lightly stubbled, he has a cute haircut and muscular arms. A glimpse of buttock tells us he's going to be examined totally naked.  

 

Art Bob - The Bigger They Are, The Harder They Fall

Everyone's already naked in this image, queuing up nervously to get their jabs, of which there are to be a great many, as witness the multiple plasters on those who have gone before. If that wasn't daunting enough, one of them - 'Mr Bigger' - has fainted and is being carried away by his buddies. 

 

Physique Pictorial captioned this as a military induction scenario, which implies the men are strangers and need to demonstrate good masculine resolve in front of their new peers, even if they are naked and defenceless. 

 

There's some interesting detail, a stray hand seeming to pull back the guy at the front of the queue (or perhaps it's tickling the fainted man's foot). The nearest culprit gazing upwards innocently. The recruit at the very back appears to be humping someone. This provocative, but discreetly obscured, forward thrusting pose is seen in other Art-Bob images. 

 

Art-Bob's contemporary, Spartacus, often drew large group scenes like this with sporting and naval settings.  

 

Art Bob - Life Savers

This situation is sort of medical too, but following a book of Life Saving instructions suggests this is about novices getting in practice, rather than a real emergency. Admittedly the 'victim' does looks a bit glum, depending on whether you see his eyes as open or closed. The 3 oil rigs in the distance seem as if they might be an interesting phallic representation of the group's feelings. They also suggest it's based on a geographic location known to the artist.  

 

The portable radio and shades in the foreground are a nice detail. The basket weave, kepi-style cap appears in another image below, US readers may recognise the style, but it's new to me. 

 

Art Bob - Skiing Mishap (my title)

 Another young man seeking his buddy's help with a bad case of burnt bottom after misjudging the strength of the sun rays on the snowy ski slopes. The ointment and liniment on the bench suggest his friend is equally stricken, but he still looks highly dubious about the prospect of mutual oiling in that particular area.  

There's an odd-looking detail in the grass beyond them that looks rather like a big cat with menacing fangs. It's actually a bearskin rug, and it appears in one of other pictures in the set (see below). Perhaps to parody of the pain the boys are experiencing.

This is one of six drawings in The 'Skiing' Series. Two others are known to me. One shows the blond trying on his skis, wearing nothing but a hooded top, unzipped to the waist. In the other, he's being roused by his buddy from sleep to go skiing before the snow melts. Both seem to simply showcase the boys' physiques. I suspect there's a narrative in which the snow melts, and they resort to nude sunbathing with disastrous consequences. 

 

Art Bob -The Young Carpenters 1

More bottom pain awaits one of the protagonists in this diptych. Our increasingly hapless blond is working with his buddy again, this time nailing shingles on a roof. He loses his balance and his buddy's efforts to save him only result in ripped clothing.

There's some nice physique drawing here and a distinctly balletic composition, brought out by the light hand used to sketch the background detail. In other images Art-Bob depicts ballet scenes and tights more explicitly. 

The difficult perspective here presents no problems to this accomplished artist.  

 

Art Bob -The Young Carpenters 2

This sequel is quite a well known image, you may have seen it converted into a spanking picture. The blond has landed in a barrel of nails which his friend considerately extracts from his posterior one at a time.

The bulge and shading of the legs of the buddies jeans here is quite effective. 

 

Art Bob - The Artist (my title)

 Many of Art Bob's pictures seem to simply be vehicles for male physique drawing. The artistic hunk in the foreground is a deceptively casual creation. But while he lazily touches up his painting, two naked, young men, posing for him in the background must sustain as pose that must be getting more and more uncomfortable by the minute. So it's also an illustration of the control any visual creator has over his models. 

 

There's a more overtly erotic ingredient in the positioning of the right-hand model's head just in front of him, seeming to suggest he's being obliged to give service, which in a way he already is. There may not be much of a bulge in the artist's jeans, but the dripping paintbrush is equally telling. A rather stylish example of 'hidden eroticism'.

 

Art Bob - Artist With His Model 1 (my title)

There's a similar theme here, with an exceptionally muscular, young model being prepared for his shoot (as it were!). The miniature figure on the floor behind him suggests this is a sculptor's studio, so he's probably in for a long stint. What's more, the coat draped over his shoulders and the broken window behind him, with snow and icicles visible, indicates that this is the proverbial, freezing garret. 

Oblivious of this, the artist takes great pains and time to get the skimpy, modesty covering adjusted just right. The sculptor's clothing, complete with trendy deck shoes, is the product of an artist well versed in fashion sketching, but perhaps not the typical attire of bohemian artists.

 

Art Bob - Artist With His Model 2 (my title)

 In the sequel, the sculptor has given the poor model ear-muffs to wear - in response to his complaints about the cold presumably. To add to this indignity, they are particularly feminine, fluffy muffs. He is also obliged to pose holding a household broom instead of a manly spear, highlighted by the contrast with the authenticity of the helmet.

The sculptor working on his model looks at him as if mystified by his grumbles. Of course, he's wrapped up warm himself. At first sight he looks like a painter cleaning his hands with a rag, but he is actually modelling a figure, you can see the shape of the legs, matching those of the model.  

 

Art Bob - Crowded Quarters

 

In their youth, men are usually undismayed by having to share quarters and bare all to other men. The two hunks in the foreground here seem happy to improvise, doing their morning ablutions in close proximity without any apparent concerns. The close arrangement of crotch and elbow is not without erotic interest, nor of course the bent over pose of the nearest man.

 Their younger flatmate, waiting his turn, seems to positively enjoy the spectacle of them jostling at the sink. While they are preoccupied, he seems to be holding up someone's undershorts for a closer examination, as if wondering how they would feel on him. Art Bob seems to have liked this criss-cross pattern, it crops up in a number of his drawings. 

This man also seems to be holding a rosebud which I'm not sure how to interpret. Is it a symbol of his crush on the owner of the pants? Or of what he imagines extracting from them? Maybe the forward thrust of his pelvis and the shielding of his crotch by the backside of one of the hunks provides the answer. Well we can all dream!

 

Art Bob -Water Shortage

 This picture has a similar 'sharing' theme to the one above, but is almost the opposite in emotional terms. These four men jockeying to get some of the water that is dripping out of the shower head are definitely not happy with the arrangement. When it was published, Physique Pictorial related it to military service, when of necessity, washing arrangements were often improvised. 

 

Comrades in arms usually make the best of such inconveniences, but the levels of embarrassment on display here seem to go far beyond that. There's a certain, very mitchmen-esque pleasure to be derived from their predicament. 'Trim' No 3 bizarrely observed that "the English might consider that these boys deserve this fate". Be that as it may, we are deprived of Art-Bob's usual cute faces as a result and must content ourselves with some luscious physique detail.

 

The picture is not without erotic humour, however. The muscular blond in the foreground is rubbing his backside, almost as if he has felt a surreptitious touch. Beyond him, a comrade looks back over his shoulder, as if he might have felt the same thing, as they bathe, accidentally cheek to cheek. Or perhaps it's his wandering hands that were responsible, and he's feigning innocence but can't resist observing the reaction of his target. 

 

The same might be said of the figure on the left, whose willowy physique is another example of Art Bob's forward thrusting pelvis action which produces a natural bunching of the backside and possibly in this case, embarrassment for the man in the middle soaping his hair, he's seen what we can't!

 

~

 

More Art Bob in Part 3 (article pending)

 

Read Part 1 of Art Bob

Don Avard post COMPLETED

Don Avard by Royale

 I have posted all of the images I have of an innovative, early Royale photo set featuring Don Avard at the mitchmen Royale Gallery. It rewrote the book of beefcake with daring poses and extraordinary props.

Avard himself was an interesting character who posed for several photographers and ended up living with Basil Clavering (Royale's founder) and becoming a member of 'the firm', though in what capacity we know not. (see biographical notes on Avard)

View Don Avard, Solo

Bob Flynn at Royale Gallery

Bob Flynn captured by Royale

I've posted a series of articles at the Royale Studio Gallery documenting the career of 'tough guy' Bob Flynn.

Bob Flynn posing for Royale

Bob Flynn posing for Vic White 

Bob Flynn posing for Scott of London
(including in his legendary tight shorts) 

Bob Flynn and Don Avard in 'The Boxers' 

Real Men Do Wear Pouches

Brian Lamprill, in pouch, by Vic White

 

 

 I recently published a post at the mitchmen Royale Studio Gallery about the hunky Royale model Brian Lamprill. It featured photographs of him taken by a different, British photographer, Vic White. 

 

Vic White was a respected British body-builder in the 50s, so his choice of models and photography of them was based on a true appreciation of the artistic and physical qualities of a well-developed, male physique. 

 

What surprised me about the Lamprill portfolio though, was the sheer sexiness that emanated from it, not just from the model's face, bulk and oily curves, but from the frankly startling shaping of his posing pouch. (which may have got a bit oily, accidentally). It's very revealing that both the photographer and model were clearly comfortable with this.

 

These pictures were published in the British, beefcake magazine 'Man Alive' in 1960. Openly published I nearly said, but it was hard to get hold of copies, except by mail order subscription. Nevertheless, it seems remarkable in those oppressed times. It sparked an (admittedly prurient!) interest in me about this photographer, which revived when I came across the picture below in my files.

 

 

Ray Andrews by Vic White

I freely admit that this model is my 'type', not pretty but he has an innate 'maleness'. As with the image of Lamprill above, that quality emerges more strongly if you subtract the slightly camp, bodybuilder/ballet legs....

 

Ray Andrews by Vic White

 Ray's pouch is more discreetly arranged than Brian's, but you still get the picture. This much derided garment is capable of as much erotic impact as the most slick and skimpy of modern thongs. Its improvisatory appearance is itself part of the appeal, particularly on a man who looks far from being the sort who would be comfortable showing himself and being photographed in such unusual and revealing kit. 

 

After all, this is an era when men's underwear actually fitted around the waist, above the hips and hiding the navel. 

 

Prehistoric Men's Underwear ad

(a time when tents and men's briefs were carefully segregated

and you had to take pills for blue finger)

 

60's underpants also entirely covered the backside, whereas the pouch is completely backless. In these circumstances, Ray's confident looking pose is commendable. This man inspired my title for this post - Real Men Do Wear Pouches. 

 

 

Derek Manthorpe by Vic White

 This photo has similar qualities, a man with pleasant, but unremarkable facial features. You might imagine him working in an office. But he's unexpectedly showing an incredibly bulky torso and an incongruous pouch that seems weighed down by its contents. His expression seems to convey manly bewilderment at being asked to wear such a thing and having to hold his hands behind his back, (as if they were tied together) to leave the embarrassing, brazen display (and imaginary access to it by any viewer) entirely unrestricted. 

 

White has arranged Derek's pouch to be narrower than Ray's (pushing together the top hem, which slides freely on the support string like a simple curtain). His pouch sides drop vertically, creating the impression of weightiness (and, for the wearer, increasing the sense of brevity and openness at the sides). There's possibly (probably) been some sanitising of the pouch surface, but the w-shaped shadow/stain at its base is reassuringly shapely, crying out to be cradled, like billiard balls in a bag. White himself has cropped off the lower half of the picture but stopped just short of the pouch and that draws attention to it.

 

 

Ken Restall by Vic White

Ken Restall was another mature-looking man who looked an improbable choice for a model, but you can't argue with that physique! 

 

White has employed the same crotch-level, cropping device here and created a strange shadow underneath, which gives an impression of exceptional bulk in the pouch without showing any sensitive detail. It's set very low down on Ken's shaved abdomen, but the strings at the side suggest it should be even lower. It looks like unfinished adjustments.

 

Ken's finely chiselled torso is well worthy of the unrestricted display afforded by the hands above the head pose, but rather than opting for conventional bicep flexing arm he's chosen a hands-clasping position that gives the faint impression of him being tied.

 

 

Mike Tozer by Vic White

 Mike Tozer was something of a catch for White, well muscled with a photogenic personality. White snapped him in a traditional muscle pose here, but again with the pouch slung very low on a shaved abdomen. It looks like his pubic hair has been painted out just above the pouch. The photo is cropped slightly lower down the legs than those above, which brings out his impressively-sized thighs but seems to miniaturise the pouch.  

 

The pouch itself is at the opposite extreme to those just above - loose fitting, apparently, with an indentation that suggests thick material, which certainly hasn't been wetted. Perhaps Mike brought his own. Some of that linen crispness is attributable to the extreme AI adjustments I've resorted to, in order to create a brighter, sharper image, but the pouch looks just the same in the noisy original.

 

 It's not very flattering to a man, appearing to have very little to show seems worse than showing everything. However, spots like this, dark in the middle with a bright halo, often appear on old photographs, so I've experimented with a version treating this as noise.

 

Mike Tozer by Vic White (pouch modified)

This modified version is more like what you'd expect and credits Mike with a manly presence.  

 

Ray Golding by Vic White

White's manipulations with pouches seem to have reached a crescendo with this image. It's not obviously faked. How did he persuade the model to get into this? More to the point, I suppose, how did he persuade the conservative magazine, Man's World, to publish this in February 1959, well before the dawn of the permissive 60s? 

 

Ray Golding has the pop-star looks of that era and a physique that looks trim rather than well-muscled. Not White's usual material.

 

 

Ray Golding by Vic White

 

I don't know if Ray Golding is related to Roy, it's from late 1958 (Man Alive, issue 2) so it's conceivably the same person, but this image of him is worth including in its own right. He's got more oil on his body that he's got on his hair but its has a magical effect on his youthful physique. 

 

He gives the impression of a frustrated, young man who has just been told he can't borrow Dad's car. Or punished by having to wear a skimpy pouch, in my twisted imagination!  

 

His right arm is semi-flexed, like a bodybuilder pose, but it's placed on the far side so as not to interfere with the line of his body that flows down to the pouch nestling between his thighs. The pouch itself is clean and natural-looking with intriguing, if faint, contours and a teasing opening at the side.

 

 

Doug Preddy by Vic White

Another tribute to youth from around the same time (Aug 58). Doug strikes a 'thinker' pose, similar to Ray's, but more philosophical and classical. Doug's muscle credentials demonstrate a good deal of time spent in the gym, with the photo capturing splendid arm details. 

 

His raised leg ensures a clear pouch outline with bulkiness and ambiguous shaping that seems more suggestive than genuine. Sorry Doug! The indrawn ab just above compensates, seemingly inviting exploration and delving.

More on Vic White to come